Pencil Jottings.

POSING AND GROUPING.

BY R. A. SEYMOUR.

HIS week's jottings are all from photographs, with the exception of the initial block, which is from an engraving. The child is from a carte by Mr. Archer Clarke. The figure leaning over the stile is from a photograph by Messrs. Ross and Pringle; and the lady with the book is from a very charming portrait by Mr. Archer Clarke, to which, I am sorry to say, my hastily-executed little jot does scant justice.

In reply to Mr. Gibson, I have made inquiries, but can meet with no one whose work, as a professional background painter, I consider really artistic. The men who could do it consider it infra dig., and those who can't do it consider they can, and are therefore past hope.

I intend to give a very fine specimen of grouping, by Mr. 6. G. Rejlander, very shortly, from a photograph which that talented artist has kindly given me permission to copy. It contains some nine or ten figures, which are grouped together with consummate ability, so that each seems to belong to the other, and all combine in expressing the artist's meaning. I am sure my readers will thank Mr. Rejlander as heartily as I do.

PHOTOGRAPHY IN THE CHANNEL ISLANDS.

BY "OLD PHOTO."

GUERNSEY, although not so fast as the sister Isle of Jersey, possesses many charms to the tourist who will devote some little time to view its beauties -especially to the photographer. Here he will find plenty of opportunities to indulge in the "black art;" magnificent bay, with grand rock, scenery, hills and valleys, with rustic "bits," rivers, lanes, and quiet rural spots well worth an artist-photographer's notice; but on this subject I do not purpose enlarging. The season is passing away for outdoor work; at some future period a description of the island's beauties may be acceptable to the readers of THE ILLUSTRATED PHOTOGRAPHER, with a few illustrations; at present it is an exhibition which claims attention; for Guernsey, like Rip Van Winkle, has aroused from its slumbers, and following the example of more popular districts, has perfected an exhibition, under the patronage of the Lieut.-Governor (MajorGeneral Scott). It was opened by the Bâily (Sir Stafford Carey), in the arsenal of the island.

An

It contains many works of art, but we confine ourselves to the photographic. Foremost amongst these must be classed Mons. A. Garnier's, who exhibits several frames. His carte de visite diamond cameo and cabinets display a great amount of skill in manipulation and execution; some busts, 14 by 12, untouched, we have seldom seen equalled for gradation of tone; light and shade are so well commingled as to defy competition. The portraits stand out in bold relief. He likewise has two specimens of night photography, free from "the soot and whitewash" generally produced by artificial light, sharp, and with shadows well tempered. interior, a room in Victor Hugo's house, with that celebrated author seated, has a fine Rembrandt effect. A medal, well deserved, has been granted to him. Mr. Ellis, Guernsey, obtained a medal for miniatures; he also exhibits several enlargements upon double elephant paper, touched in with chalk; and in a view of the town of St. Hellier's, taken by a dry plate with a triplet combination, there is good definition, combined with sharpness to the edges. Mr. Sharp, Jersey, has several specimens of highly glazed cartes, by what he terms a new process, and a coloured enlargement of a lady, which obtained a medal. Mr. Mullens, Jersey, who at the Exhibition of 1862 was rewarded with a medal in the Jersey department, is granted a similar favour on the present occasion; his poses are good, though in several of his vignettes there is an evident want of care or skill; they are too crude, and do not blend well, appearing to have been left, with an opening, and wadding attached, to take their chance. In a frame of cabinets there are two ladies who appear to have had a different operator, the tone, pose, and tout ensemble being superior to the other specimens. Jersey was also represented by Messrs. Collie, Davy, and Langloes, but they do not call for any especial notice, neither do the drawings or paintings; but as an exhibition is organising for water-colour drawings and paintings, the probability is good works have been withheld.

We see, by an advertisement from the trustees of the Sinai Society Fund, that "a photographer of great experience will be attached to the expedition."

ALMOST the only memorial that remains to mark the site of a city once famous alike for the vastness and splendour of its edifices, and the wisdom and learning of its inhabitants, is one solitary obelisk, which, rising high above the feathery acacia trees, tells in phonetic symbols, that it was erected by Osirtesen the First, who reigned king of Egypt 1,740 years before our era commenced. It is strange that palace, temple, college should alike disappear, and nought but this lonely stone survive to tell where the brilliant Heliopolus of the Greeks, the On of the Bible,

lies buried.

There is something sweetly suggestive to the Christian mind in this monolith rising calmly from the grave of earthly wisdom and pointing silently to the skies, as if to show that all earthly lore is vanity-that "here we have no continuing city." The overreaching pomp of pride could not stay the Almighty fiat, "ashes to ashes, dust to dust." The Arab robber has rifled the tombs of the haughty, and the scattered mummies of the terrible manure the ricefields of Egypt.

On, by some of our writers, has been styled the Oxford of Egypt. Here it was that the hierarchy had their sacred schools, and initiated selected aspirants in their literature, laws, religion, and recondite philosophy.

As the Egyptians knew not the true God, their high ideal of deified humanity is remarkable. This is evinced by their emblematic images and sculptured idols, which typify strength and intellectuality, a mind above all earthly passions, all human cares, all disturbing anxieties, inexorable, supremely calm, indomitably great. Battered and broken as the sphinx is, yet there is something inexpressibly grand lingering in its ruin-something that still lifts

the mind insensibly to noble thoughts and to pure and lofty aspiration.

There is a beautiful agreeableness with the character of the patriarch Joseph in the circumstance of his getting a wife in this city. "And Pharaoh called Joseph's name Zaphnath-paaneah; and he gave him to wife Asenath the daughter of Poti-pherah priest of On." Probably the etymology of the names would indicate something of the character or circumstances; but we can imagine the daughter of the priest of this city of learning, skilled in the ethics of that age, and yet possessed of those gentle accomplishments which should make her a meet partner for him to whom Pharaoh said, "There is none so discreet and wise as thou art." "Thou shalt be over my house; and according unto thy word shall all my people be ruled; only in the throne will I be greater than thou art."

It is assumed that Moses, who "was learned in all the wisdom of the Egyptians," was educated at On; and here, according to tradition, Jeremiah wrote the Book of Lamentations. The Copts believe that our Divine Redeemer sojourned here on "the flight into Egypt;" it is so stated, too, in the apocryphal gospels, and Mr. Good has very successfully photographed the great fig tree which marks the supposed site of his dwelling. Plato resided for thirteen years at On, and here learned the sublime doctrine of the immortality of the soul. This heliograph, or sun-picture, shows us literally all that remains standing of Heliopolus, or the sun city, where all that mankind could be intellectually, without the knowledge of the living God, they probably have been. The glorious expansiveness of mind which now celestialises, and enables us to comprehend and utilise, the subtle laws and phases of science, is the direct result of the Divine afflatus. God, by becoming man, qualified, exalted, and dignified mankind. It is not an exaggeration to say that the majestic architecture at Karnak does not so conspicuously show his nature as "a little lower than the angels as does the production of this stereogram before me. One shows the triumph of mind and physical strength over matter; the other the developof thought, and the victory of intelligence over abstruse and difficult combinations of natural laws.

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The highest feast and ceremony in the Jewish Church is that which commemorates the exodus; and the direct commands of Moses, and the frequent references to it by the sacred writers, attest the veneration due to the remembrance of that transcendent event when the Lord saved Israel that day out of the hands of the Egyptians; and Israel saw the Egyptians dead upon the sea shore"-Pharaoh and his army, "six hundred chosen chariots, and all the chariots of Egypt, and captains over every one of them." There are few things in the world without a purpose, which we might oftener discover if we "took thought." The pyramids are beyond all parallel the most stupendous structures ever erected by man, and remain, and will for ages remain, to attest the greatness of that nation which held God's chosen people in bondage; and although 4,000 years have passed over, yet there they still stand, as this truth-beaming picture shows-noble monuments of man's perseverance and power. Fancy the people of Israel toiling at degrading labour, so few, SO enfeebled, so oppressed, beaten by their hard task-masters, held in the most ignominious servitude, treated with injustice and cruelty! Look again at your photograph, and see the lasting testimony of the haughty greatness and lofty arrogance which held them in this base servitude. It is a subject for profound contemplation. Whatever purpose the pyramids were erected for, they now serve as tangible and incontestable evidence to show where existed a mighty nation, possessed of great wealth, vast power and unlimited resources, from whose iron grasp only the hand of God could have released this poor feeble tribe. Well might Moses sing, "Who is like unto Thee, O Lord, among the gods? who is like Thee, glorious

in holiness, fearful in praises, doing wonders ?" And in the proud monuments of Egypt we recognise another mission of mercy; for their pictured chambers and graven walls show occupations and circumstances of the Jewish race corresponding to events mentioned in Scripture history, such as graciously combats the sophistry of the sceptic, and stimulates the fervour of the undoubting and good. In the pictured tombs at Benihassan we see the Hebrew brickmaker at work; and the sculptured stones at Karnak show us processions of captive Jews. When future research and increased learning enables us to understand and read those stone books, and to more fully and accurately comprehend their hieroglyphic symbols, then shall be revealed the Divine purpose for which has been so carefully, and freshly, and long preserved their florid hierogrammatic treasures. Even now, whilst our glimmering knowledge enables us faintly to conceive the meaning of that encyclopædia written forty centuries ago on the rocks of Egypt, we are instructed in the arts-and I believe we have not sufficiently considered the art which has preserved those records. Those who dogmatise on the permanency of "carbon pictures" might still receive a lesson from the fresh chromatic beauty which has survived for countless ages. In science the Egyptians were possibly all that they could be without those aids and helps to advancement which are peculiarly the attribute and glory of the Christian period. In the politenesses of life, the courtesy and deference due to social position, ancient Egypt shows much that could instruct the radical spirit of our time, to those men who would fain reduce all mankind to an equality, forgetful that intelligence is itself relative.

But let us take one more look at our engraving. This tall, stately obelisk of On is the companion monolith to the well-known Cleopatra's Needle which was removed from here by Julius Cæsar to adorn his temple at Alexandria. It is of red Syene granite, polished, profusely covered with hieroglyphics, one immense block of stone 67 feet long by about 7 feet square. Our engineering readers will look with interest on this slide; let them imagine, if they can, how this, and numberless other stones much larger, were transported from the quarries at Syene, the modern Assouin, to this and other Nilic cities; and even we find granite columns from Egypt amongst the ruins of Gamala, on the lake of Gennesaret.

Long, long ago, before Codrus founded Athens, long before Pythagoras taught philosophy, or Homer sang the deeds of Achilles, before Romulus planned the walls of Rome, or Carthage held the empire of the seas, Bethshemish, or On, was great and prosperous. But the mission of Egypt in the economy of the world is gone, and the flowers bloom, and the birds sing, and the grass waves now over ancient On; whilst the stars look down as tranquilly as when that city was populous and powerful, and the astrologer read destiny in their trembling radiance. The glorious morning sun rolls up from the eastern desert as majestically now as when its first beams awoke responsive murmurs from the stony lips of vocal Memnon. Surely there is no more eloquent commentary on man's ambition than this sad, solitary memorial, this milestone in the world's progress, illustrating so minutely, yet so vividly, the folly of human pride, the mutability of earthly greatness; and yet, whilst you gaze on its image, compare it, if you will, to the giant wand of some magician of ancient Egypt, pointing through forty centuries of strife and change, of heathenism and truth, to the constant, the eternal heavens, showing the path to hope, to light, to rest, to immortality, where "the Lord shall reign for ever and ever."

The engraving which illustrates this article is from a photograph recently taken by Mr. T. M. Good, of the Minories. The oriental photographs of Mr. Good are the best I have seen; it is not flattery to speak of them in superlatives, because they are positively magnificent. He regards his art with the enthusiasm of an ardent lover of science, and practises it with the feeling of an accomplished

artist. It cannot be thought invidious that I write thus favourably of his productions, because the correctness of what I state is very generally acknowledged; and in giving honour where honour is due, surely I am but transcribing the sentiment of every generous reader.

Transactions of Societies.

NORTH LONDON PHOTOGRAPHIC ASSOCIATION. Myddelton Hall, Islington, Oct. 7th, 1868.

G. W. SIMPSON, ESQ., IN THE CHAIR.

AFTER the transaction of the usual business, and the election of nine new members, a paper was read by Mr. N. K. Cherril,

ON THE RELATION BETWEEN INTENSITY AND TONE.

After some introductory remarks, the reader aroused great curiosity and interest by saying he did not hesitate to call his subject "the most important one at the present time; one the ultimate and definite settlement of which would do more to elevate the art of photographic portraiture than almost any other; one which is far from being understood, and still farther from being an active principle in the manipulation of every photographic portrait." After some further remarks on the exceptional importance of his subject, the author stated that before referring to the effect the intensity of the negative had several things," and to show what seemed to him "a very upon the tone of the resulting print, he "wished to point out beautiful series of facts which lead up to the consideration of the present state of photography." To illustrate what he meant by intensity and tone, Mr. Cherril then described, with considerable minuteness, but very little accuracy, "a calm summer sea,” and a stormy evening at sea. The first, he said, "if photographed, would probably not have to be made very intense in the negative, because there would be no gradation of colour to be obtained in the prints;" and that the second "offered more scope for the photographer or painter." We do not pretend to understand Mr. Cherril's meanings. Our own impression is, that in depicting a calm gradation, and that a dark stormy evening at sea would presummer sea, the only way of securing effect would be by subtle sent more abrupt contrasts, a small scale of dark tones instead of a very extensive scale of light tones, and consequently much less gradation. As to the latter affording more "scope" to the photographer, here again the reader was incomprehensibly vague. He could hardly have meant that wind, rain, and the Then followed some wordy flourishes, the meanings of which absence of light would be favourable to photographic operations.

we dare not even attempt to guess at.*

"Now let us again," said Mr. Cherril, "slightly change the scene we are considering. The tide has been falling, and now appears a line of dark, half-rotten timbers, once the main supports of some old breakwater; these, left bare by the falling tide, give us at once the true key-note to the whole composition. We know at once, from former experience, that the rotten wood of an old breakwater, with (perhaps) lots of sea-weed growing on it, must be always black, if not quite so, and so we have a guide by which to judge really how intense the sun's reflection in the water is, and how much darker the clouds are than the blue sky of the first picture." Should the reader understand Mr. Cherril's meaning, we congratulate him. If the old timbers chanced to form the darkest point in the scene, it would, as a matter of course, be so rendered in any welltaken photograph; but, as often as not, sea-weed glistening with moisture gives masses of rich, warm colour, and strongly reflects the light of the sun and the colour of the sky. To argue as if these things were always and necessarily black and in shadow, shows Mr. Cherril to be no observer of nature, however successfully he may photograph her varied charms.

The paper stated, however, that from these things Mr. Cherril gleaned, "first, that the intensity of a picture is greater just in proportion as its contrast between light and shade is greater; secondly, that the tone of a picture must always be governed by some one known and definite key-note, such as the extreme black of the breakwater." By the intensity of a picture, Mr. Cherril perhaps

The paper will doubtless be found at full length in the pages of our photographic contemporaries, to which we refer such of our readers as may be curious concerning it. Our own space can, we think, be more profitably filled.—E».

meant to indicate those violent contrasts which are opposed to gradation, but give force of effect, which play, in short, a part very similar to that of fifes, drums, and trumpets in music. We have heard grand music and sweet music, gay music and pathetic music, in which there were no parts for the thundering drum, the ear-piercing fife, or the brazen clangour of trumpets, and so we have all seen pictures from which pure black and pure white-either, or both- -are absent, but which were nevertheless full of delicate subtle gradation and brilliancy.

To further illustrate () his subject, Mr. Cherril turned to portrait photography, saying

Let us suppose a chill to be taken-very fair, very light hair, light blue eyes, white dress, and (if any) light blue ribbon round the neck. This seems to me very like our first view of the sea, all white-n intensity, no tone, no contrast. Does it matter how much you intensify the negative? I think not. An intense negative will print more slowly, and, perhaps, give a better colour in the print; but a very weak one will give all the tone there is in the picture. Now let us imagine a change. The child has grown, her hair has darkened, they have given her a brown ribbon for her neck, and she now wears a coloured dress. Is it now a matter of indifference as to the in ensity of the negative? I think not. There is more tone in the picture, there is more intensity of contrast in nature, and, therefore, more need of hitting the relative tone of various parts of the picture when finished. But let us take a third case. The girl has grown to woman's estate; she comes decked in gorgeous apparel; she wears black velvet for her dress, and pearls for her head-dress; her eyes are black and lustrous, and her complexion fair and delicate. Now is it any matter of indifference as to the intensity of the negative? Certainly not. We are certain that the blacks of black velvet are black, that the high lights of a fair face are white, that the spots of light upon a tiara of pearls are bright, like stars, and, therefore, any negative which will give less than the whole range of tone from white to black will not do justice to our sitter. This, I believe, and this alone, to be the great secret of M. Adam Salomon's brilliant effects of lighting; that he gets subjects which will give a full range of tone from white to black, and he so manages the intensity of his negatives that his prints give the nearest approach possible to the scale of gradation in nature.

Now, all this is delightfully vague and meaningless. Suppose the very fair girl with light hair and blue eyes does reach womanhood, and also "comes" with dark eyes and dark hair decked in gorgeous apparel," that is to say, "she wears black velvet for her dress, and pearls for her headdress," which seems to be Mr. Cherril's idea of gorgeousness. Why should the photographer be therefore so often reminded that it is not a matter of indifference as to the intensity of the negative in Mr. Cherril's opinion? Why should, or why shouldn't, it be a matter of difference? We give it up as a riddle past comprehending.

When Mr. Cherril came to matters he understood, his remarks were much more practical and useful. We quite appreciated his meaning, and at once understood him when he said-" It is a fact, and one much to be regretted, that paper (albumenised paper) is so various in its quality that the greatest uncertainty prevails as to what the intensity should be to give a certain result. It would conduce greatly to aid the photographer in the production of perfect work if the makers of albumenised paper would agree among themselves as to some standard by which, and up to which, they would work. At present no two papers in the market are alike. One gives, as the maker will say, 'fine, rich, warm tones;' and another tones with two or three other adjectives, varying according to the idiosyncrasy of the maker, or, possibly, with the probable credulity of the buyer."

In doing small portraits, such as cartes de visite, the exact range of tone is of much less consequence than in larger sizes; hence the greater technical difficulty in the larger pictures. It is by no means difficult to get a paper that will give good proofs from carte de visite negatives, but it is a very difficult thing to find one that will print a 10 by 8 portrait à la Salomon; and when you have found the paper, the negatives must be made of just the right intensity to suit that paper. Until paper-makers will make us an uniform article, I am afraid we have no choice but to vary our negatives to suit the paper. For those who would succeed with portraits in the style of M. Adam Salomon, it is imperatively necessary to get a paper which will give very considerable depth of tone in the blacks. One of the greatest faults with paper nowadays is that it is suited to such thin, weak negatives; it will not bear any depth in the shadows without bronzing all over."

Mr. Cherril wound up his paper with some compliments for his partner in business, Mr. H. P. Robinson.

The CHAIRMAN, after proposing the usualvote of thanks, said, as no one could gainsay the general truth of Mr. Cherril's remarks, a discussion could hardly be expected. Mr. Cherril had "thought out and given definite expression" to many things with which they were all familiar in practice, but to which few of them had given mental study. The question as to whether it would prove desirable, should the makers of photographic papers

adopt Mr. Cherril's suggestions, was, however, a subject which might advantageously be discussed. He thought that so long as the character of negatives taken under different circumstances of light, &c., varied, it would be an advantage to be able to secure papers so differing in their preparation as to suit such different requirements.

Mr. CHERRIL simply desired the dealers so to prepare their papers that he might at any time rely upon the paper ordered having the same qualities for printing as the sample he had previously been using. At present he found that every new batch of paper required the carrying out of a new set of experiments before he could learn how to deal with it in securing the best results.

Mr. HILL thought the manufacturers might at least give them a guide by simply stating what proportion of salt they used.

Mr. HART thought the mass of photographers would not care to have such knowledge. Nineteen out of twenty paid so little attention to the strength of their printing baths as only to find out that it was too weak when it began to dissolve the albumen from the paper; as it would do when the paper happened to be highly albumenised.

Mr. CHERRIL pointed out that if the quantity of salt in the paper were known, the quantity of silver abstracted from the bath might be readily ascertained.

Mr. BLANCHARD thought it desirable that every maker should send out two kinds of paper, each always the same, one suitable for printing with weak, and the other for printing with dense negatives. He also made other remarks which were in accordance with Mr. Cherril's.

Mr. HART said, by taking a quarter of sheet of paper and soaking it to dissolve out the salt, and then ascertaining how many drops of silver from a standard solution were sufficient to precipitate the silver as a chloride, it was easy to learn the amount of salt contained in any given sample of paper.

Mr. BELTON remarked that even when the greatest care was exercised, albumenisers could not be certain of absolute uniformity in the character of their preparations.

Mr. CHERRIL Said this appeared to be admitted by all makers. Some of the differences complained of might arise from the different modes in which the paper itself was manufactured. After some further discussion, the meeting was adjourned.

SOUTH LONDON PHOTOGRAPHIC SOCIETY.

City of London College, Oct. 8th, 1868.

REV. F. F. STATHAM, B.A., F.G.S., ETC., IN THE CHAIR. AFTER Some business announcements and minor transactions, Mr. BLANCHARD read a short paper on a new form of stereoscope. Mr. Blanchard commenced by pointing out the pleasant amusement a stereoscope afforded, but stated that there was a serious error in the principle of its formation. He then spoke of some facts connected with the first experiments on the application of steam to locomotion on land, and to others connected with the protection of a gas flame from strong currents of air. Returning to his subject, he described the past popularity and present unpopularity of the stereoscope, and said he thought "there must be some cause" for the latter, and believed such would be found "in the fact that in the mass of instruments a considerable amount of fatigue to the eyes is experienced after a few minutes' examination of a number of stereoscopic slides, in the instruments of various makers. The distance from centre to centre varies so much in the slides that the eye is constantly strained; hence the numbers of people who never properly see a picture with true stereoscopic relief. It will be found that in the ordinary common stereoscope, of (say) 6 inches focus, a picture should not have the objects in the two pictures more than 2 inches apart; and yet you will find that so great is the demand for large pictures on the part of the dealers and the public, that a great number of the slides now offered for sale will measure 3 inches at least. Now, in the ordinary instrument, such subjects cannot be seen without much fatigue to the eyes; but with an adjusting stereoscope the lengthening of the focus will at once make these pictures combine with comfort. Mr. England and others have complied with this demand for size, without sacrificing the beauty of the picture, by taking away a portion of subject where the pictures come together, and giving it to the extremities, so that whilst the pictures well fill the stereoscopic mount, the centres are not more than 23 apart, and not often so much.

"The instrument before you combines so completely all the excellencies of all the most expensive instruments, and is, withal, so ingenious and expensive, that I felt it only needed

to be more thoroughly known to give a new impetus to a department of photography which has declined much during late years. I felt, therefore, I could not do better than bring it before a society where its advantages would be at once seen, and its merits thoroughly discussed. The necessity for such an easily adjustable instrument will be seen when I tell you that a difference of five inches in the position of the slide is needed to make it perfectly seen by two of my friends. One of them, a gentleman in this room, requires the slide close up to the partition; whilst the other needs the slide to be placed at the very extremity of the bar. This will be found to be nearly six inches. Another friend, who has looked at hundreds of slides, has never seen one perfectly until now. I hope this instrument will be largely made by the dealers, and that, in consequence, the stereoscope will once more be a pet instrument in the hand of every one.

Mr. BOCKET exhibited a stereoscope he had purchased for a shilling, and explained how he had modified it, so as to obtain the advantage given by the new instrument Mr. Blanchard had described. After some desultory conversation on the subject, and the passing of a vote. of thanks to Mr. Blanchard, the meeting adjourned.

THE ASSOCIATED ARTS INSTITUTE. THIS flourishing and useful young society recommences its pleasant labours with the usual opening conversazione on the 31st inst., at its rooms, 8, Conduit-street, Regent-street.

The committee requests the loan of works of art, from members and friends of the institute, for exhibition at the conversazione, and will be happy to receive such works at the rooms, 9, Conduit-street, on Wednesday, 28th instant. In case a van should be required for their removal, information to that effect should be sent to the secretaries not later than Saturday, the 24th. Amongst the attractions of the evening will be several of special interest. Invitations have been issued for about five be provided. An opening address will be delivered by Professor Westmacot, R.A., F.R.S., &c.

or six hundred visitors. Refreshments of the usual kind will

LIVERPOOL AMATEUR PHOTOGRAPHIC
ASSOCIATION.

Public Library, William Brown-street,
September 26th, 1868.

THE REV. G.IJ. BANNER, PRESIDENT, IN THE CHAIR. SOME discussion of a discursive character and on a variety of topics was indulged in. The chairman having complained of a new sample of paper he had been using,

Mr. HENDERSON said the time of year was sometimes answerable for such faults. From certain negatives he could never produce as good prints in the autumn and winter as he had procured in the spring and summer.

Mr. GREEN said the same might also be said of dull and fine weather.

Mr. WILSON took exception to a statement put forth, we believe, in our columns, that no progress had been made in the collodio-bromide process since its introduction. He also called attention to a source of failure in dry plates, due to his having marked upon the backing of the plate after exposure, and with a wet rag, a number intended to distinguish it from others. When placed in the plate box the proximity of the moist back to the front of the next plate produced patches of insensitiveness on the surface immediately opposite the mark. The meeting was shortly after adjourned.

MANCHESTER PHOTOGRAPHIC SOCIETY.

Memorial Hall, Albert-square, October 8th, 1868. THE REV. CANON BEECHEY, M.A., PRESIDENT, IN THE CHAIR.

THE evening was devoted exclusively to the business of the thirteenth annual meeting. The committee's report showed the financial position of the society to be satisfactory, and congratulated the members upon the character of their past meetings, and the increase in the number of members. After the balloting for officers, the election of five new members, and the announcement of an exchange club in connection with the society, the meeting was adjourned.

Note that if lead linings or pipes are used in the operating room for the sinks, they will be acted upon by the chemicals, will soon be full of holes, and the vapours of their combined action are most unwholesome.-Lake Price.

AN INTERESTING EXPERIMENT IN PHOTOLITHOGRAPHY WITH BICHROMATED GUM-ARABIC.

BY DAVID DUNCAN.

But I

and could, for some purposes, be available commercially. I DESIGNATE the following an experiment, albeit it is practical, Bichromated gum has been used before in photolithography with very fair success. I was not, however, aware of that fact when I tried the "interesting experiment," as I call it. I still reiterate the expression, although I have not pursued the matter, nor given it the attention I now deem it worthy of. Perhaps by this experiment I may venture to claim originality, viz., for being the first to make, successfully, Gum-Arabic Photolithographic Transfers. As I have said, bichromated gum-arabic has been before used in photolithography, but only for printing direct on stone, not for making transfers. (Vide "Drummond's Carbon Process," page 24, &c., &c.) But the question of originality does not trouble me, having belief in the scripture saying, "There is no new thing under the sun,' must not linger too long on the threshold of my story. When I first began to practise photolithography, I met with a great many failures; alas! who has not? More especially those who have experimented with bichromated gelatine. At length, when all difficulties were surmounted, I went on making successful transfers. I was to be disappointed. An order came in which was to be completed, at a stated time, a series of architectural drawings in pen and ink, sizes from 10 by 8 to 13 by 12. Transfers were required. Oh, yes, without fail! A few were made; suddenly the ink on no account would leave the unexposed portion of sensitive gelatine tissue, not even with boiling water. I had only met with this before when a thin could be attributed, and I strove in vain (at the time) to disnegative had been used and the print over-exposed. Many causes cover the one cause. It must be understood that I do not, in making photolithographic transfers, use hot water to wash off the superfluous ink. It is indispensable to remove the ink easily in my method of working. My failure was a source of annoyance. The transfers were wanted. Something was wrong with the gelatine or ink, or somewhere. Oh! I thought, if one could but dispense with gelatine altogether; what with its stubbornness in winter and its vagaries in summer, it is almost unbearable! I tried gum-arabic, and after a few experiments succeeded with the following:

Slowly dissolve, near a fire or on a stove, 1 lb. of gum-arabic, medium quality, in 40 oz. of water; when dissolved add 40 oz. of bichromate of potash dissolved in 20 oz. of boiling water; likewise, 4 oz. of common raw sugar; strain into a flat dish. Now the surface is covered with bubbles; with care you may remove them; but when you attempt to float paper thereon you will make more, and, with difficulty, will succeed in getting a nice smooth surface (free from bubbles), which is absolutely necessary. You say, "I will use a brush." Well, perhaps you can use one better than I can; but I in haste immersed the paper (albumenised) in the solution made as above, face downward, turned it over, and, from one end, drew it very slowly out. The result was a perfectly smooth surface, without a bubble, which dried like a sheet of glass.

My next step was to print the picture; after that, to ink it. The last I accomplished by inking a lithographic stone with ordinary retransfer ink, softened by "Mid. Litho. Varnish and turpentine, laying the print thereon, and passing it through the press. When this was done, I floated the inked picturethe inked surface uppermost not touching the water-upon the surface of cold water in a flat dish, which soon dissolved from the back the superfluous gum. After leaving it on the water for a few minutes, the soluble portions of gum began to swell up and dissolve. I then took the print from the water, laid it on a piece of glass, and carefully brushed away with a camelhair brush all soluble gum with ink on those parts of the print not acted on by light; the result was a perfect transfer; and by the above method I made two or three magnificent transfers, with exceeding fine lines, 13 by 12, which transferred to stone successfully. I met with difficulties ere I arrived at the success I describe, and having discovered the cause of my failure, went back to gelatine, which I have continued to work ever since.

The difficulties I met with when using gum-arabic I think may be overcome by one who has time and inclination to experiment in that direction. The gum-arabic solution could not be used, successfully, more than one day after rendering it sensitive by the chromate salt; it gradually got thick and darker in colour, and the paper was partly, after printing, insoluble.

Mr. Duncan is mistaken.-ED.